john adams said, "the age of painting and sculpture has not arrived in this country, and i hope it will not arrive soon. i would not give a sixpence for a picture of raphael." nevertheless, admiration for the artist became so great th copies of his works grew in number, especially of the madonna of the chair. merchants and landowners placed these copies in rooms filled with family portraits and memorabilia. unlike jefferson's monticello, the copy after raphael might now be the only art relating to an old master in the room. the attitude toward raphael changed during the 19th century. through prints and the new medium of photography, copies of his sistine madonna and other works proliferated. once mass-produced, they were no longer a mark of taste and distinction but symbolized their owner's moral as well as artistic values. eventually, raphael's images became so commonplace they were fair game for parody. in the late 19th century, a new, more sophisticated type of collector arose in america: the millionaire who, having amassed a fortune, was now prepared to spend it on masterpieces. the